Based on its author’s previous research, the present essay observes China’s Ibsen studies in a broader context of modernity and East-West cross-cultural communication and interaction. To the author, the early reception of Ibsen in China indeed promoted the process of China’s cultural modernity, but it should also be responsible for the misunderstanding and misconstruction of the image of Ibsen as a revolutionary thinker rather than an artist. In current international Ibsen scholarship, "return to Ibsen as an artist" represents the forefront research of Ibsen and his dramatic works. Inspired by the Marxian aesthetic construction of Shakespeareanization and Said’s conception of "traveling theory", the author for the first time creatively puts forward his theoretical construction of "Ibsenization", on the basis of which he is carrying on an equal dialogue with international Ibsen scholarship.
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